Unlike many Athenians, Allyson Vieira doesn’t mind spending a month in Athens during the summer. Having explored archeological sites all around Greece over the last seven years, this time she indulged in the making of three sculptures, which inquire into the architectonic qualities of antiquities as much as they elaborate on the material and immaterial features of modernist constructions. Multi Story I, II and III employ abstract caryatid-like columns, made of Ytong blocks, in between two slabs of tempered mirror glass. A human passion for building, which is timeless and global, appears here in its more progressive expression, as clearly referred to by the concrete and glass. The title as well mentions a common type of construction contract, where payment is required in terms of materials, time (and of course an overhead for the constructor). A parallel between the construction of the new European Central Bank tower in Frankfurt and Athen’s Acropolis was worth a try, and Vieira didn’t step back from doing it with a double projection that simply juxtaposes these two images, mirrored top to bottom. Descending onto the underground room of the modernist building of the gallery, the display is completed by a group of works leaning on the walls: the ongoing series Clad (Multi Story) I-X. These pieces combine the leftovers of Vieira’s sculptures cast in plaster to resemble ancient stelae, which, in a sort of statuesque snap-shot, visualise the making of the sculptures seen upstairs. Delving into the troubled status of modernism, Allyson Vieira really made the most of her one-month summer-stay in Greece. Adding to her three-sculpture series, the New York hellenophile landed in Athens with an unpretentious first-time introduction to the Greek art crowd.